The Mascot of the Coldstream Guards - William Orpen
Archival giclée
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Description
A 1917 oil painting by William Orpen depicting a Coldstream Guards encampment, featuring a small goat mascot resting near a makeshift tent in a pine forest.
Painted in 1917, this work captures a quiet moment behind the front lines of the First World War. William Orpen, serving as an official war artist, depicts the encampment of the Coldstream Guards with a focus on the mundane realities of soldier life. The composition centres on a makeshift tent, constructed from canvas and timber, with laundry hanging to dry against the backdrop of a dense pine forest. The small white goat, the titular mascot, stands near the entrance, providing a domestic contrast to the military setting. Orpen employs a clear, controlled palette. The deep blues of the sky and the vertical lines of the tree trunks create a structured environment, while the warm, earthy tones of the tent and the ground suggest the dry conditions of the summer months. Unlike the dramatic depictions of combat often associated with the period, this painting documents the temporary, fragile nature of life in the field. The artist avoids sentimentality, choosing instead to record the physical environment with precision. The presence of the goat serves as a reminder of the small comforts soldiers sought to maintain amidst the upheaval of conflict. This piece is part of the collection held by the Imperial War Museum, reflecting Orpen's role in documenting the British military experience during the Great War. His ability to balance the technical demands of oil painting with the observational requirements of his commission is evident in the handling of light and shadow across the canvas.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. EU customers have a 14-day cooling-off right. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
The Mascot of the Coldstream Guards - William Orpen
Our Features
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Specific Features
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- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Choose poster, framed print, canvas or framed canvas
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
William Orpen
During the First World War he was sent to the Western Front as an official war artist for the British government. He was the most prolific of the war artists, producing 138 works: drawings and paintings of soldiers, dead men, German prisoners, ruined trenches, and the blank exhaustion that photographs of the period cannot quite capture. He donated all 138 to the British government. They are now in the Imperial War Museum.
After the war he painted The Signing of the Peace Treaty at Versailles, which should have been the capstone of his career. Instead it became a controversy. He also painted To the Unknown British Soldier in France, a composition that originally included ghostly military figures alongside a flag-draped coffin. The Imperial War Museum refused to accept it until he removed the figures in 1927.
He never fully recovered from the physical and mental effects of the war. He continued to paint society portraits at extraordinary prices (over 50,000 pounds a year by 1929), but those who knew him said something had changed.
He was Irish, from Stillorgan in County Dublin, a fact that became complicated as the independence movement gathered force during and after the war. He accepted a knighthood from the British crown. He died in 1931, aged fifty-two, and faded to near-total obscurity until 2001, when a portrait sold at Sotheby's for nearly two million pounds.
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